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An open international competition is being held to transform the central market area of Pazardzhik, Bulgaria (Deadline: 1 September) The ‘Pazardzhik Central Market Area’ competition – organised by OPTIMISTAS on behalf of the Municipality of Pazardzhik – seeks innovative urban and architectural solutions to revitalise the historic market zone which serves as a key commercial and social hub for the wider city centre. The competition invites participants to propose a new vision for one of the city’s most significant public spaces located a short distance from Mineral Baths Park, Saedinenie Square and a shopping centre. The project aims to deliver a contemporary, multifunctional public space that strengthens the identity and vibrancy of Pazardzhik. Competition site: Pazardzhik market, Bulgaria According to the brief: ‘This is a unique opportunity for creators from all over the world to contribute to the development of Pazardzhik’s central area with ideas that preserve cultural heritage and inspire future generations. ‘A chance is emerging for bold architectural and urban inspiration that will confidently combine history with modernity, creating a new recognisable face for the city. ‘The Municipality of Pazardzhik believes that responsibility towards the urban environment is a duty to both past and future generations. ‘The launch of this competition demonstrates our choice to plan thoughtfully, create carefully, and attract ideas with an open heart. The responsibility to preserve and develop the spirit of the city market is our mission and commitment to the city and its residents.’ Located 112km southeast of Sofia, Pazardzhik – named after the Turkish word for market – is a historic city on the banks of the Maritsa River with around 50,000 inhabitants. The latest contest comes less than a year after an international contest was held to upgrade the historic market square of Stara Zagora in Bulgaria. The latest competition calls for a new vision for Pazardzhik’s main market – reorganising trading spaces, improving pedestrian and cycling access, integrating greenery and relaxation zones, resolving vehicle and parking issues and ensuring accessibility. The contest site, located in the heart of Pazardzhik, is characterised by its historic market function, proximity to key civic and cultural institutions, and its potential to serve as a catalyst for broader urban regeneration. Designs will be expected to include covered and open market areas, modern amenities and multifunctional, year-round public space. The competition is open to all Bulgarian and international architects. The competition language is Bulgarian and submissions will be assessed anonymously by a yet-to-be-announced jury featuring seven international members. Submissions will be evaluated 25 per cent on urban concept, 25 per cent on functional solution, 20 per cent on innovation, 20 per cent on design and 10 per cent on project value. The overall winner – due to be announced on 17 September – will receive a €7,500 prize while a second prize of €5,000 and third prize of €2,500 will also be awarded. The winning team will also be invited to negotiate for an estimated €75,000 contract for further design development and the implementation of their proposal. How to apply Deadline: 1 September Competition funding source: Municipality of Pazardzhik Project funding source: Municipality of Pazardzhik Owner of site(s): Municipality of Pazardzhik Contact: pazardzhikmarket@competition.bgVisit the competition website for more information

In a 12,000-square-foot warehouse in Zeeland, Michigan, hundreds of chairs, sofas, and loveseats rest on open storage racks. Their bold colors and elegant forms stand in striking contrast to the industrial setting. A plush recliner, seemingly made for sinking into, sits beside a mesh desk chair like those found in generic office cubicles. Nearby, a rare prototype of the Knoll Womb® Chair, gifted by Eero Saarinen to his mother, blooms open like a flower–inviting someone to sit. There’s also mahogany furniture designed by Gilbert Rohde for Herman Miller, originally unveiled at the 1933 World’s Fair; early office pieces by Florence Knoll; and a sculptural paper lamp by Isamu Noguchi. This is the newly unveiled MillerKnoll Archive, a space that honors the distinct legacies of its formerly rival brands. In collaboration with New York–based design firm Standard Issue, MillerKnoll has created a permanent display of its most iconic designs at the company’s Michigan Design Yard headquarters. In the early 1920s, Dutch-born businessman Herman Miller became the majority stakeholder in a Zeeland, Michigan, company where his son-in-law served as president. Following the acquisition, Star Furniture Co. was renamed the Herman Miller Furniture Company. Meanwhile, across the Atlantic in Stuttgart, Germany, Walter Knoll joined his family’s furniture business and formed close ties with modernist pioneers Ludwig Mies van der Rohe and Walter Gropius, immersing himself in the Bauhaus movement as Germany edged toward war.  Just before the outbreak of World War II, Walter Knoll relocated to the United States and established his own furniture company in New York City. Around the same time, Michigan native Florence Schust was studying at the Cranbrook Academy of Art under Eliel Saarinen. There, she met Eero Saarinen and Charles Eames. Schust, who later married Walter Knoll, and Saarinen would go on to become key designers for the company, while Eames would play a similarly pivotal role at Herman Miller—setting both firms on parallel paths in the world of modern design. The facility was designed in collaboration with New York-based design firm Standard Issue. The archive, located in MillerKnoll’s Design Yard Headquarters, is 12,000 square feet and holds over one million objects. (Nicholas Calcott/Courtesy MillerKnoll) Formerly seen as competitors, Herman Miller acquired Knoll four years ago in a $1.8 billion merger that formed MillerKnoll. The deal united two of the most influential names in American furniture, merging their storied design legacies and the iconic pieces that helped define modern design. Now, MillerKnoll is honoring the distinct histories of each brand through this new archive. The archive is a permanent home for the brands’ archival collections and also exhibits the evolution of modern design. The facility is organized into three distinct areas: an exhibition space, open storage, and a reading room.  The facility’s first exhibition, Manufacturing Modern, explores the intertwined histories of Knoll and Herman Miller. It showcases designs from the individuals who helped shape each company. The open storage area displays over 300 pieces of modern furniture, featuring both original works from Knoll and Herman Miller as well as contemporary designs. In addition to viewing the furniture pieces, visitors can kick back in the reading room, which offers access to a collection of archival materials, including correspondence, photography, drawings, and textiles. The facility is organized into three distinct areas: an exhibition space, open storage, and a reading room and will be open for tours in partnership with the Cranbrook Art Academy this summer. (Nicholas Calcott/Courtesy MillerKnoll) “The debut of the MillerKnoll Archives invites our communities to experience design history – and imagine its future– in one dynamic space,” said MillerKnoll’s chief creative and product officer Ben Watson. “The ability to not only understand how iconic designs came to be, but how design solutions evolved over time, is a never-ending source of inspiration.” Exclusive tours of the archive will be available in July and August in partnership with the Cranbrook Art Museum and in October in partnership with Docomomo.

When Leta Sobierajski enrolled in college, she already knew what she was meant to do, and she didn’t settle for anything less. “When I went to school for graphic design, I really didn’t have a backup plan – it was this, or nothing,” she says. “My work is a constantly evolving practice, and from the beginning, I have always convinced myself that if I put in the time and experimentation, I would grow and evolve.” After graduation, Sobierajski took on a range of projects, which included animation, print, and branding elements. She collaborated with corporate clients, but realized that she wouldn’t feel comfortable following anyone else’s rules in a 9-to-5 environment. Leta Sobierajski (standing) and Wade Jeffree (on ladder) \\\ Photo: Matt Dutile Sobierajski eventually decided to team up with fellow artist and kindred spirit Wade Jeffree. In 2016 they launched their Brooklyn-based studio, Wade and Leta. The duo, who share a taste for quirky aesthetics, produces sculpture, installations, or anything else they can dream up. Never static in thinking or method, they are constantly searching for another medium to try that will complement their shared vision of the moment. The pair is currently interested in permanency, and they want to utilize more metal, a strong material that will stand the test of time. Small architectural pieces are also on tap, and on a grander scale, they’d like to focus on a park or communal area that everyone can enjoy. With so many ideas swirling around, Sobierajski will record a concept in at least three different ways so that she’s sure to unearth it at a later date. “In some ways, I like to think I’m impeccably organized, as I have countless spreadsheets tracking our work, our lives, and our well-being,” she explains. “The reality is that I am great at over-complicating situations with my intensified list-making and note-taking. The only thing to do is to trust the process.” Today, Leta Sobierajski joins us for Friday Five! Photo: Melitta Baumeister and Michał Plata 1. Melitta Baumeister and Michał Plata The work of Melitta Baumeister and Michał Plata has been a constant inspiration to me for their innovative, artful, and architectural silhouettes. By a practice of draping and arduous pattern-making, the garments that they develop season after season feel like they could be designed for existence in another universe. I’m a person who likes to dress up for anything when I’m not in the studio, and every time I opt to wear one of their looks, I feel like I can take on the world. The best part about their pieces is that they’re extremely functional, so whether I need to hop on a bicycle or show up at an opening, I’m still able to make a statement – these garments even have the ability to strike up conversations on their own. Photo: Wade and Leta 2. Pandas! I was recently in Chengdu to launch a new project and we took half the day to visit the Chengdu Research Base of Giant Pandas and I am a new panda convert. Yes, they’re docile and cute, but their lifestyles are utterly chill and deeply enviable for us adults with responsibilities. Giant pandas primarily eat bamboo and can consume 20-40 kilograms per day. When they’re not doing that, they’re sleeping. When we visited, many could be seen reclining on their backs, feasting on some of the finest bamboo they could select within arm’s reach. While not necessarily playful in appearance, they do seem quite cheeky in their agendas and will do as little as they can to make the most of their meals. It felt like I was watching a mirrored image of myself on a Sunday afternoon while trying to make the most of my last hours of the weekend. Photo: Courtesy of Aoiro 3. Aoiro I’m not really a candle person (I forget to light it, and then I forget it’s lit, and then I panic when it’s been lit for too long) but I love the luxurious subtlety of a fragrant space. It’s an intangible feeling that really can only be experienced in the present. Some of the best people to create these fragrances, in my opinion, are Shizuko and Manuel, the masterminds behind Aoiro, a Japanese and Austrian duo who have developed a keen sense for embodying the fragrances of some of the most intriguing and captivating olfactory atmospheres – earthy forest floors with crackling pine needles, blue cypress tickling the moon in an indigo sky, and rainfall on a spirited Japanese island. Despite living in an urban city, Aoiro’s olfactory design is capable of transporting me to the deepest forests of misty Yakushima island. Photo: Wade and Leta 4. Takuro Kuwata A few months ago, I saw the work of Japanese ceramicist Takuro Kuwata at an exhibition at Salon94 and have been having trouble getting it out of my head. Kuwata’s work exemplifies someone who has worked with a medium so much to completely use the medium as a medium – if that makes sense. His ability to manipulate clay and glaze and use it to create gravity-defying effects within the kiln are exceptionally mysterious to me and feel like they could only be accomplished with years and years of experimentation with the material. I’m equally impressed seeing how he’s grown his work with scale, juxtaposing it with familiar iconography like the fuzzy peach, but sculpting it from materials like bronze. Photo: Wade and Leta 5. The Site of Reversible Destiny, a park built by artists Arakawa and Gins, in Yoro Japan The park is a testament to their career as writers, architects, and their idea of reversible destiny, which in its most extreme form, eliminates death. For all that are willing to listen, Arakawa and Gins’ Reversible Destiny mentality aims to make our lives a little more youthful by encouraging us to reevaluate our relationship with architecture and our surroundings. The intention of “reversible destiny” is not to prolong death, postpone it, grow older alongside it, but to entirely not acknowledge and surpass it. Wade (my partner) and I have spent the last ten years traveling to as many of their remaining sites as possible to further understand this notion of creating spaces to extend our lives and question how conventional living spaces can become detrimental to our longevity.   Works by Wade and Leta: Photo: Wade and Leta and Matt Alexander Now You See Me is a large-scale installation in the heart of Shoreditch, London, that explores the relationship between positive and negative space through bold color, geometry, and light. Simple, familiar shapes are embedded within monolithic forms, creating a layered visual experience that shifts throughout the day. As sunlight passes through the structures, shadows and silhouettes stretch and connect, forming dynamic compositions on the surrounding concrete. Photo: Wade and Leta and John Wylie Paint Your Own Path is series of five towering sculptures, ranging from 10 to 15 feet tall, invites viewers to explore balance, tension, and perspective through bold color and form. Inspired by the delicate, often precarious act of stacking objects, the sculptures appear as if they might topple – yet each one holds steady, challenging perceptions of stability. Created in partnership with the Corolla Cross, the installation transforms its environment into a pop-colored landscape. Photo: Millenia Walk and Outer Edit, Eurthe Studio Monument to Movement is a 14-meter-tall kinetic sculpture that celebrates the spirit of the holiday season through rhythm, motion, and color. Rising skyward in layered compositions, the work symbolizes collective joy, renewal, and the shared energy of celebrations that span cultures and traditions. Powered by motors and constructed from metal beams and cardboard forms, the sculpture continuously shifts, inviting viewers to reflect on the passage of time and the cycles that connect us all. Photo: Wade and Leta and Erika Hara, Piotr Maslanka, and Jeremy Renault Falling Into Place is a vibrant rooftop installation at Ginza Six that explores themes of alignment, adaptability, and perspective. Six colorful structures – each with a void like a missing puzzle piece – serve as spaces for reflection, inviting visitors to consider their place within a greater whole. Rather than focusing on absence, the design transforms emptiness into opportunity, encouraging people to embrace spontaneity and the unfolding nature of life. Playful yet contemplative, the work emphasizes that only through connection and participation can the full picture come into view. Photo: Wade and Leta and Erika Hara, Piotr Maslanka, and Jeremy Renault Photo: Wade and Leta Stop, Listen, Look is a 7-meter-tall interactive artwork atop IFS Chengdu that captures the vibrant rhythm of the city through movement, sound, and form. Blending motorized and wind-powered elements with seesaws and sound modulation, it invites people of all ages to engage, play, and reflect. Inspired by Chengdu’s balance of tradition and modernity, the piece incorporates circular motifs from local symbolism alongside bold, geometric forms to create a dialogue between past and present. With light, motion, and community at its core, the work invites visitors to connect with the city – and each other – through shared interaction. The Cloud is a permanent sculptural kiosk in Burlington, Vermont’s historic City Hall Park, created in collaboration with Brooklyn-based Studio RENZ+OEI. Designed to reinterpret the ephemeral nature of clouds through architecture, it blends art, air, and imagination into a light, fluid structure that defies traditional rigidity. Originally born from a creative exchange between longtime friends and collaborators, the design challenges expectations of permanence by embodying movement and openness. Now home to a local food vendor, The Cloud brings a playful, uplifting presence to the park, inviting reflection and interaction rain or shine..

Doors (2022) Christian Marclay Institute of Contemporary Art Boston Through September 1, 2025Brooklyn Museum Through April 12, 2026On the screen, a movie clip plays of a character entering through a door to leave out another. It cuts to another clip of someone else doing the same thing over and over, all sourced from a panoply of Western cinema. The audience, sitting for an unknown amount of time, watches this shape-shifting protagonist from different cultural periods come and go, as the film endlessly loops. So goes Christian Marclay’s latest single-channel film, Doors (2022), currently exhibited for the first time in the United States at the Institute of Contemporary Art Boston. (It also premieres June 13 at the Brooklyn Museum and will run through April 12, 2026). Assembled over ten years, the film is a dizzying feat, a carefully crafted montage of film clips revolving around the simple premise of someone entering through a door and then leaving out a door. In the exhibition, Marclay writes, “Doors are fascinating objects, rich with symbolism.” Here, he shows hundreds of them, examining through film how the simple act of moving through a threshold multiplied endlessly creates a profoundly new reading of what said threshold signifies. On paper, this may sound like an extremely jarring experience. But Marclay—a visual artist, composer, and DJ whose previous works such as The Clock (2010) involved similar mega-montages of disparate film clips—has a sensitive touch. The sequences feel incredibly smooth, the montage carefully constructed to mimic continuity as closely as possible. This is even more impressive when one imagines the constraints that a door’s movement offers; it must open and close a certain direction, with particular types of hinges or means of swinging. It makes the seamlessness of the film all the more fascinating to dissect. When a tiny wooden doorframe cuts to a large double steel door, my brain had no issue at all registering a sense of continued motion through the frame—a form of cinematic magic. Christian Marclay, Doors (still), 2022. Single-channel video projection (color and black-and-white; 55:00 minutes on continuous loop). Watching the clips, there seemed to be no discernible meta narrative—simply movement through doors. Nevertheless, Marclay is a master of controlling tone. Though the relentlessness of watching the loops does create an overall feeling of tension that the film is clearly playing on, there are often moments of levity that interrupt, giving visitors a chance to breathe. The pacing too, swings from a person rushing in and out, to a slow stroll between doors in a corridor. It leaves one musing on just how ubiquitous this simple action is, and how mutable these simple acts of pulling a door and stepping inside can be. Sometimes mundane, sometimes thrilling, sometimes in anticipation, sometimes in search—Doors invites us to reflect on our own interaction with these objects, and with the very act of stepping through a doorframe. Much of the experience rests on the soundscape and music, which is equally—if not more heavily—important in creating the transition across clips. Marclay’s previous work leaned heavily on his interest in aural media; this added dimension only enriches Doors and elevates it beyond a formal visual study of clips that match each other. The film bleeds music from one scene to another, sometimes prematurely, to make believable the movement of one character across multiple movies. This overlap of sounds is essentially an echo of the space we left behind and are entering into. We as the audience almost believe—even if just for a second—that the transition is real. The effect is powerful and calls to mind several references. No doubt Doors owes some degree of inspiration to the lineage of surrealist art, perhaps in the work of Magritte or Duchamp. For those steeped in architecture, one may think of Bernard Tschumi’s Manhattan Transcripts, where his transcriptions of events, spaces, and movements similarly both shatter and call to attention simple spatial sequences. One may also be reminded of the work of Situationist International, particularly the psychogeography of Guy Debord. I confess that my first thought was the (in my view) equally famous door-chase scene in Monsters, Inc. But regardless of what corollaries one may conjure, Doors has a wholly unique feel. It is simplistic and singular in constructing its webbed world. Installation view, Christian Marclay: Doors, the Institute of Contemporary Art/Boston, 2025. (Mel Taing) But what exactly are we to take away from this world? In an interview with Artforum, Marclay declares, “I’m building in people’s minds an architecture in which to get lost.” The clip evokes a certain act of labyrinthian mapping—or perhaps a mode of perpetual resetting. I began to imagine this almost as a non-Euclidean enfilade of sorts where each room invites you to quickly grasp a new environment and then very quickly anticipate what may be in the next. With the understanding that you can’t backtrack, and the unpredictability of the next door taking you anywhere, the film holds you in total suspense. The production of new spaces and new architecture is activated all at once in the moment someone steps into a new doorway. All of this is without even mentioning the chosen films themselves. There is a degree to which the pop-culture element of Marclay’s work makes certain moments click—I can’t help but laugh as I watch Adam Sandler in Punch Drunk Love exit a door and emerge as Bette Davis in All About Eve. But to a degree, I also see the references being secondary, and certainly unneeded to understand the visceral experience Marclay crafts. It helps that, aside from a couple of jarring character movements or one-off spoken jokes, the movement is repetitive and universal. Doors runs on a continuous loop. I sat watching for just under an hour before convincing myself that I would never find any appropriate or correct time to leave. Instead, I could sit endlessly and reflect on each character movement, each new reveal of a room. Is the door the most important architectural element in creating space? Marclay makes a strong case for it with this piece. Harish Krishnamoorthy is an architectural and urban designer based in Cambridge, Massachusetts, and Bangalore, India. He is an editor at PAIRS.